The Concepts of Space in the Spanish Translations of ... · Gottfried Semper‟s theory1 and the subsequent so called „German tradition‟. However, the concept of space in architecture

Athens Journal of Architecture October 2017

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The Concepts of Space in the Spanish

Translations of Vitruvius (1564, 1582, 1761 and

1787). Their Differences from Gottfried Semper’s

Idea of Space as Developed in Der Stil (1860, 1863)

By Daniel Dávila Romano

The meanings of the term ‘space’ in four translations into Spanish of De architectura

by Vitruvius are analysed here in order to clarify a piece of the ‘prehistory’ of the

concept of space in Architectural Theory before Gottfried Semper. The texts studied

here are: the first translation of Vitruvius into Spanish, by Lázaro de Velasco (1564);

the first edition of Vitruvius in Spanish, by Miguel de Urrea and Juan Gracián (1582),

the one by Joseph Castañeda (1761) and the most complete and thorough edition, by

Joseph Ortiz y Sanz (1787). The aim of this study is to analyse these Spanish

translations in order to recognize the meanings, uses and importance of the space

between 1564 and 1787, a period which belongs to the so called ‘prehistory’ of the

concept of space in Architectural Theory. Finally, an overview of Semper’s idea of

space and its use is offered in order to better recognise the leap forward his theory

implied as regards this key concept in Architectural Theory.

Introduction

The concept of space became a key one in Architectural Theory only after

Gottfried Semper‟s theory1 and the subsequent so called „German tradition‟.

However, the concept of space in architecture must have appeared in a broader

context in the field before becoming a key issue. How was the term used before

the mid-nineteenth century? What did it mean then? Did Semper‟s idea of

space exist before he began using it as a synonym of enclosed vacuum to

dwell? Was it an important concept in Architectural Theory? These are some of

the questions to be answered as regards the „prehistory‟ of the concept of space

in architecture.

PhD Student, Academy of Architecture – USI, Switzerland.

1. S. Hildebrand, “Zum Raumbegriff bei Gottfried Semper,” Lecture at TU Munich. 2007;

D. Leatherbarrow, Architecture Oriented Otherwise (New York: Princeton Press, 2009); H. F.

Mallgrave and E. Ikonomou, Empathy, Form and Space: Problems in German Aesthetics,

1873-1893 (Santa Monica: Getty Center for the history of Art and the Humanities, 1994); H. F.

Mallgrave, Architectural Theory. Volume I. An anthology from Vitruvius to 1870 (Malden:

Blackwell Publishing, 2006); T. Panin, Architectural Spatiality. The Dialectic between the

Concepts of Raum and Bekleidung (Saarbrücken: VDM Verlag Dr. Müller, 2009); C. Schriner,

A. Denk, U. Schröder and R. Schützeichel, Architektur, Raum, Theorie. Eine kommentierte

Anthologie (Berlin: Ernst Wasmuth Verlag, 2016); C. van de Ven, Space in architecture: the

evolution of a new idea in the theory and history of the modern movements (Assen: Van

Gorcum, 1978).

Vol. 3, No. 4 Dávila Romano: The Concepts of Space in the Spanish Translations...

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Methodology and Index

The questions above are not easily answered. To do so, all the meanings

and uses of „space‟ in architecture in all theories, scholars, catalogues, etc. should

be studied first. As all this work is impossible to be tackled in this paper alone,

only the meanings of the term „space‟ in four translations of Vitruvius‟s De

architectura into Spanish between 1564 and 1787 are analysed here.

First, a list of the meanings of „space‟ (only the ones applied directly to

architecture) that appeared in the books is given. Second, we compare the use

of „space‟ (with the commented meanings) in a selected quotes of the books.

Third, we compare the closest meaning of „space‟ that appeared in Vitruvius‟

translations with Semper‟s idea.

Why Vitruvius

There are two reasons for choosing Vitruvius: an objective and a subjective

one.

On the one hand, Vitruvius‟ was the most studied, translated, published

and commented book on Architecture before the nineteenth century. Because

of this, we can follow the conceptual changes of the term in the different

translations throughout time. Thus, it is a means to analyse the evolution of an

idea or concept.

On the other hand, this research derives from a mistake I made while

reading the Spanish translation of The Style, by Gottfried Semper, as I wrongly

attributed to Vitruvius an idea belonging to Semper‟s conception of the term

„space‟. In Chapter 10, Stereotomy, Semper comments and criticizes what

Vitruvius had pointed out about the origin and characteristics of Pseudodipteral

temples. To describe this kind of temple Semper indicated that there was enough

«espacio» (space) for another line of columns in the middle of the peristyle.2

Contrary to what I firstly assumed, «space» here does not imply the Semperian

idea of space as a surrounded vacuum, but the area or place for something or to

locate something («Platz hätte»).3 Eventually, this led me to the next question:

Did Vitruvio use the term „space‟ and, if so, with what meanings? We have

looked for the quote in which Vitruvius himself refers to this kind of temple:

«For the idea of the pteroma and the arrangement of the columns round a

temple were devised in order that the intercolumniations might give the

imposing effect of high relief; and also, in case a multitude of people should be

caught in a heavy shower and detained, that they might have in the temple and

round the cellar a wide free space in which to wait».4

2. G. Semper, El estilo en las artes técnicas y tectónicas o Estética practice (Buenos Aires:

Azpiazu, 2013), 780; G. Semper, G. Style in the technical and tectonics arts, or Practical aesthetics

(Los Angeles: Getty Research Institute, 2004), 172.

3. «Platz hätte» is the expression that Semper used there. G. Semper, Der Stil in den

technischen und tektonischen Kunsten; oder, Praktische Aesthetik. Ein Handbuch fur Techniker,

Kunstler und Kunstfreunde (München: Bruckmann‟s Verlag, 1879).

4. M. Vitruvius, The Ten Books on Architecture (London: Humphrey Milford, Oxford

University Press, 1914), 82.


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Even though this translation refers to the «space in which to wait», I have

realised that Vitruvius did not use the word «spatium» there, but «laxamento

liberam moram», which has less to do with the idea of space by Semper:

«Pteromatos enim ratio et columnarum circum aedem dispositio ideo est

inventa, ut aspectus propter asperitatem intercolumniorum habeat auctoritatem,

praeterea, si ex imbrium aquae vis occupaverit et intercluserit hominum

multitudinem, ut habeat in aede circa que cellam cum laxamento liberam

moram».5

Despite this, I have found the word «space» and «espacio» several times in

the English and Spanish translations respectively; the latter edition was the one

in which it appears most. But it also appeared in the earliest editions. This led

me to the idea that studying the evolution of the translations may offer a piece

of information on the genealogy of „space‟. We have been using „space‟ in

relation to architecture for a long time, but what exactly for? Are any of its

meanings related to Semper‟s conception of „space‟? That‟s how this research

began.

The Different Uses of «Space»

Focusing on the uses of space that refer directly to architecture, only four

meanings are to be found in the Spanish translations of Vitruvius here studied:

Space as Length (S1)

This is the easiest meaning to understand and the most common use of

«espacio» (space) in all the Spanish translations of Vitruvius: space as the

distance between two points or parts of the building. However, some technical

concepts such as «intercolumniation» have been changed for the word «space»

in recent translations.

«Después habla de los diferentes espacios de las Columnas, que componen

los cinco modos llamados Pychnostylo, Systylo, Diastylo, Aerostylo, y Eustylo».6

«Then he speaks about the different spaces between columns, which

constitute the five types called Pychnostylo, Systylo, Diastylo, Aerostylo, y

Eustylo».7

Space as Area, Surface or Place to Do Something (S2)

Here space refers to an «area» or «surface», but it also means a «place» where

an activity can be developed. Sometimes it may be substituted by another word

such as: «lugar» (place) or even «habitación» (room).

5. M. Vitruvius, Los diez libros de arquitectura (Madrid: Alianza Editorial, 1995), 87.

6. M. Vitruvius, Compendio de los diez libros De Architectura (trans.) Joseph Castañeda

(Madrid: Gabriel Ramírez, 1761), 10.

7. The author of this work makes these translations from the Spanish quotes and he thanks

the help given by Professor Beatriz Giudici and Javier Casares Arias, PhD Student at CBM.

However, any kind of inaccuracy or mistake should be attributed exclusively to the author of

this paper.


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«La magnitud ... se proporcionará a la cosecha y número de tinajas. Si la

prensa fuere de viga, no será el sitio menos largo de 40 pies, para que tenga

suficiente lugar el que la maneja: su anchura no será menor de 16 pies; pues así

tendrán espacio bastante para sus operaciones los que trabajan».8

«The magnitude ... will be provided to the harvest and number of jars. If

the press were made of wood, the place [where it is held] will not be less long

than 40 feet, so the person to handle it has enough space to do so; and its width

will be not less than 16 feet, so that the workers have enough space to operate».

Space as an Empty Small Volume (S3)

This meaning appears in two kinds of contexts: space as a small gap

between/among the constructive parts of a building and space as the „air‟ that

surrounds an object. An example of the latter is given here:

«Sobre estas leyes se hacen matemáticamente los vasos de bronce...

Colócanse después ... en unas celdillas particulares debajo de las gradas del

teatro, sin que por ninguna parte toquen pared, teniendo encima y al rededor

espacio vacío».9

«Under these laws the bronze glasses are mathematically made ... Then

they are placed ... in special cells under the theatre seats, without their touching

a wall, having over and around empty space».

Space as an Enclosed Vacuum to Dwell (S4)

Here we have the most interesting use of space in these translations of

Vitruvius in terms of its relationship with Semper‟s concept of space: the

empty space that has been enclosed by constructive materials. This use of space

appears only once in the original book, but it appears in two of the three

translations, while in another one it is substituted by the word «hueco» (gap,

space), which refers to the same idea of a volumetric vacuum that has been

surrounded. We analyse this case in detail in the next part. But before, let us

read the quotation below:

«Los de los Colcos en el Ponto, por la abundancia de selvas que tienen,

ponen llanos en tierra troncos enteros de arboles á una y otra mano, dexando

entre ellos tanto espacio quanto sufre su longitud, á cuyos extremos van

atravesando otros que cierran el espacio de la habitacion...».10

«The Colchians in Pontus, where there are forests in plenty, lay down

entire trees flat on the ground to the right and the left, leaving between them a

space to suit the length of the trees, at the end of which they place above these

other trees, which rest on both ends of the former ones and at right angles with

them. These four trees enclose the space for the dwelling».11

8. M. Vitruvius, Los diez libros De Architectura (trans.) Joseph Ortiz y Sanz (Madrid:

Imprenta Real, 1787), 154.

9. Ibid, 117.

10. Ibid, 29.

11. Vitruvius, The Ten Books on Architecture, 39.


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Evolution of the Use: A Comparison

Before beginning this section, it is important to notice that one edition quite

differs from the others. While the editions of 1564, 1582 and 1787 were nearly

a direct translation of the Ten Books from Latin, the edition by Joseph Castañeda

(1771) was a translation of Perrault‟s translation of Vitruvius into French (1673).

This latter edition is closer to an adaptation of the Ten Books than to a translation,

which actually affects our work. As we are going to show the different translations

of the same parts in three of these books, it is not possible to do so with

Castañeda‟s edition, because the expressions and content are very different from

the others. Moreover, only the first and second meaning of space (S1 + S2) can

be found in it.

Below, some representative parts of each translation of Vitruvius are

compared in order to analyse the changes in the uses of the language and concepts.

The selection of the parts is in direct connection with the types of meanings

mentioned in the previous section.

Space as Length (S1)

This meaning of „space‟ appears in all the editions used here. There is at

this point a consensus in the meaning and use of „space‟. For instance, three

quotes of the same part in Vitruvius are provided below:

«El pseudodípteros tiene ocho colunas en la fachada, y otras ocho en el

póstico: en los lados quince por parte, inclusas las angulares. Así las paredes de

la nave en fachada y pórtico tienen enfrente las quatro colunas del medio: y el

espacio en rededor desde las paredes de la nave á las colunas será de dos

intercolunios y un imoscapo» 12

(1787).

«The pseudodipteral temple has eight columns at the front, eight at the

rear, and fifteen on each side, including those of the corners. Thus, the front

and rear walls of the actual nave face the four inner columns of those eight

front and rear ones; and the space around it from the walls of the nave to the

columns will be of two intercolumniations and one diameter of a column».

«Pseudodipteros se asienta de manera que en la frente, y en el postigo ay

de ocho en ocho las columnas, y en los lados con las esquinas de quinze en

quinze. Mas son las paredes de la celda cótra quatro columnas medianas, y

estas quatro han de ser enfrente del postigo. Asi el espacio de entre estas dos

ordenes de columnas sera medido de gruesso baxo de la columna, y sera el

espacio de la pared hasta los postreros ordenes de las columnas»13

(1582).

«The pseudodipteral temple is designed in a way that eight columns can be

found at the front and rear respectively and fifteen on each side, corners

included. And the wall of the cell faces the four central columns of those eight

at the front. Thus, the space between these two series of columns should be

12. Vitruvius, Los diez libros De Architectura, 62-63.

13. M. Vitruvius, De Architectura dividido en diez libros (trans.) Miguel de Urrea and Juan

Gracián (Alcalá de Henares, 1582), 38.


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measured from the diameter of the base of the columns; and this space will be

that between the actual nave wall and the inner surface of the columns».

«Otros tienen en la frente y espaldas a ocho columnas, y en los lados

conlas de las esquinas a quinze columnas y venian las paredes del templo a

confrontar conlas quatro columnas q estavan en medio dela orden dela frente y

respaldo y quedava el espacio desde la pared al extremo de las postreras

columnas dos intercolumnios y ungrueso de columna porlo baxo»14

(1564).

«Others have at the front and the rear eight columns, and on the sides, corners

included, fifteen columns; and the wall of the cella faces the four central columns

of the eight ones at the front and rear; and the space between the wall and the

columns was of two intercolumniations and one diameter of a column».

Space as Area, Surface or Place to Do Something (S2)

The idea of a place to carry out an activity and an area or surface to place

things is not always meant by «space», but by means of other words such as the

ones used here to define it.

The most convenient quote to show these differences is, in fact, the one

that Semper was referring to when criticising Vitruvius‟ explanation of the

origin of the so called Pseudodipteral Temple, which eventually raised in us an

awareness of the “problem” and led us to do research into this concept. See

Figure 1.

14. M. Vitruvius, Los X libros de arquitectura de Marco Vitrubio Polión, according to the

translation of Lázaro de Velasco (1564), transcription and study by F. Javier Pizarro Gómez

and Pilar Mogollón Cano-Cortés (Caceres: Cicon Ediciones, 1999), Penultimate page of Book

III, Chapter 1: “On the formation of temples”.


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Figure 1. Two Schemes: Dipteral Temple (left) and Pseudodipteral Temple

(right) according to Vitruvius. Gottfried Semper (§172) Criticizes the Vitruvian

Explanation of the Origin of the So-called Pseudodipteral Temple (as a

Dipteral one without the Internal Row of Columns) because there is in the

Oldest ‘Pseudodipteral’ Temples No Correspondence between the Order of the

Columns and the Cella; Something that the Temple of Selinunte Shows

«El autor de estas proporciones fue Hermogenes, que inventó también el

octástylo pseudodípteros, pues quitó al dípteros las filas interiores de colunas

en numero de 38: y con ello ahorró gasto y trabajo: de los dos pórticos hizo uno

ancho y desembarazado para pasear al rededor de la nave: nada quitó del

exterior aspecto; Y sin echarse menos las colunas quitadas, que en la realidad

no se necesitan, conservó la magestad en lo restante de la obra. Porque las alas

de las colunas al rededor de la nave se inventaron para dar magestad al aspecto

con los intercolunios. Además, para que en caso de sobrevenir alguna lluvia

quando hubiere concurso en el Templo, tenga lugar la gente donde esperar con

libertad y desahogo que cese el agua. Estas ventajas tiene el pseudodípteros»15

(1787).

«The author of these proportions was Hermogenes, who also invented the

Pseudodipteral and Octastyle temple by removing the inner rows of columns in

the dipteral temple in a total number of 38,16

thus saving expenses and labour.

From the two porches he made one, wider, and unfettered to enable people to

walk around the nave. He removed nothing from the outside appearance; and

15. Vitruvius, Los diez libros De Architectura, 66.

16. The size of the temple invented by Hermogenes in terms of the number of columns at

the sides and at the front is not completely clear. According to the quotes used to explain the

previous section (“Space as Length”), the size of the temple should be: 8 x 15, like the Figure

1. However, and as it is explain in this quote, Hermogenes removed a number of 38 columns of

the inner row, which implies that the temple should measure: 8 x 17.


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without the columns he removed, which, in fact, are not really needed, he

managed to preserve the majesty of the work. Because the peristyle was

invented to give majesty to the appearance of the building itself by means of

intercolumniations, and so that, in the event of rain, when there is a

congregation in the temple, people have a place where they could wait freely

and confortably until the rains stops. These advantages does pseudodipteral

temple have».

« ... si la fuerça del agua de las lluvias encerrasse, y detuviersse alguna

multitud de gente, para que en aquel templo, o casa cerca de la celda con la

anchura tengan donde descansen libremente»17

(1582).

« … if the force of the rainfall made a congregation remain at the temple,

so that in that temple or house near the cella there is width enough where these

people can rest freely».

« ... Inventose [Hermogenes] elponer columnas alderredor del cuerpo del

templo para q el aspecto con la aspereza de las columnas tuviese autoridad. I

también para que si acaesciese venir torvellino de agua y se enterrase multitud

degente quedase espacio alderredor del cuerpo del templo do pudiese detenerse

libremente»18

(1564).

«He [Hermogenes] conceived placing columns around the temple body so

that their rough appearance gave it authority. And in the event of a downpour,

with a congregation confined at the temple, were space around the body where

they could remain freely».

As it can be seen, there is neither consensus nor a clear evolution of the

term „space‟. It is used in the first edition (1564), but not in the following ones

(1582 and 1787).

Space as an Empty Small Volume (S3)

As we have seen in part 2, one of the meanings of „space‟ is «a little empty

volume between/among constructive materials». This idea appears a couple of

times in each edition, but the term used is not always «space» but «hueco»

(gap, hollow, empty space). There is here no agreement in its use either.

However, it appeared in the edition of 1787.

« ... dexar un espacio vacío del medio en la pared, entre las piedras de las

caras, que se llenará despues de piedra roxa escuadrada, de ladrillo cocido, ó de

piedra dura ordinario, formando en dicho medio una pared de dos pies de

ancho, atando las dos frentes con grapas de hierro emplomadas»19

(1787).

« … leave an empty space in the middle of the wall, between the stones of

the faces, which will be filled afterwards with squared purple stone, cooked

brick, or ordinary hard stone, forming in that middle a wall two feet wide, tying

the two sides with leaded iron staples».

17. Vitruvius, De Architectura dividido en diez libros, 40.

18. Vitruvius, Los X libros de arquitectura de Marco Vitrubio Polión, Penultimate page

of Book III, Chapter II: “On the five types of temples”.



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«Pero el que quisiere no dar en este vicio, llene lo hueco del medio entre

las dos hazeras de las paredes, haziendo un ortostato, o con piedras quadradas,

o coloradas, o con tejas quebradas, o con pedernales, y con sus chapas, o rampones

de hierro emplomadas...»20

(1582).

«But whoever wants not to fall into this vice should fill the hollow between

the two sides of the walls, making an orthostate with square or coloured stones,

broken tiles or with flints; and with their plates, or leaded iron ramps... ».

«I si alguno quisiere no caer eneste vicio, dexando lo hueco de en medio

por de dentro q pueda entre las dos hazes haga unas paredes de grueso de dos

pies de piedra bermela quadrada o de ladrillo o delas piedras duras ordinarias

como es el pedernal y trabe las frentes delas piedras cogrpas de hierro fixadas

con plomo...»21

(1564).

«And if anyone wishes not to fall into this vice, leaving a gap between the

two faces, he should make a two-feet thick wall of square stone, brick or

ordinary hard stones such as flint and then fasten the fronts of the stones with

lead-fixed iron staples... ».

Space as an Enclosed Vacuum to Dwell (S4)

Only one example can be analysed because this use only appears clearly just

once. The idea of an enclosed volume to inhabit appears in all the translations and

the term used in two of the three translations is «space».

«Los de los Colcos en el Ponto, por la abundancia de selvas que tienen,

ponen llanos en tierra troncos enteros de arboles á una y otra mano, dexando entre

ellos tanto espacio quanto sufre su longitud, á cuyos extremos van atravesando

otros que cierran el espacio de la habitacion...»22

(1787).

«The Colcos in Pontus, because of the abundance of rainforest they have,

place on the ground tree trunks, leaving between them a space equal to their

length and piling up at the far end of each trunk other trunks which close the

space of the room».

«En el Poto la nació de Colcos, porque tiene abundancia de montes, edificá

có arboles perpetuos, y durables, llanos puestos en tierra a mano derecha, y

mano izquierda, dexando espaciio entre ellos, quianto la largura de los arboles

lo sufre, y en las ultimas partes dellos encima otros, atraviessan, que cerca al

rededor el medio espacio de la abitacion»23

(1582).

«In the Pontus, the Colchians, since they have an abundance of woods,

build with perennial and resistant trees which are placed on the ground to the

right and to the left, leaving as much space between them as the length of the

trees is capable of providing, and then place other trunks across and on top on

them, thus enclosing the space of the room».


21. Vitruvius, Los X libros de arquitectura de Marco Vitrubio Polión, Second page of

Book II, Chapter VIII: “On the types of stonework”.




348

«Acerca de la nacion de los Colcos q agora dizen Cumanja en Trapisonda,

porel abundancia que ay de bosques, ponen unos arboles altos, labrados ados

hazes hincados en la tierra, dexando tanto espacio de uno a otro quanto puede

alzanzar el largo delos arboles. I lyego en lo alto alcabo de ellos ponen otros

atravesados q viene a cerrar el hueco de la morada enmedio...»24

(1564).

«[…] the Colchians in Pontus, […] who have woods in plenty, put entire

trees flat on the ground to the right and to the left, leaving between them a

space equal to their length, and then they place others, across, on top of the

tress on the ground, thus enclosing the space for the dwelling».

In this quote, the first meaning of „space‟ is also provided (S1-distance)

when describing how the logs were placed, which claims that this use of the

term was relatively common.

What Expression Did Vitruvius Use?

«Apud nationem Colchorum in Ponto propter silvarum abundantium

arboribus perpetuis planis dextra ax sinistra in terra positis, spatio inter eas

relicto quanto arborum longitudines patiuntur, conlocantur in extremis partibus

earum supra alterae transversae, quae circumcludunt medium spatium

habitationis».25

«[…] the inhabitants of the Colchians in Pontus, due the abundant and

dense forests in the area, place trees of equal size on the ground to the right and

left, leaving between them a space equivalent to their height, and then they

place across, at the end of each tree, others, which surround the space of the

room».

The answer is also «spatium» (space). Although it is not that relevant, one

may wonder why Lázaro de Velasco avoided the term. The fact is that

Vitruvius and his translators accepted the general conception of architectural

space as an enclosed vacuum made of constructive materials. Nevertheless, it

means that space (S4) was then an important concept for architectural theory. It

simply appeared as a means to speak about some kind of construction. Nothing

more, nothing less.

Gottfried Semper’s Idea of Space and its Use

Semper‟s conception of space began in Die vier Elemente der Baukunst

(1851) and in «Über die formelle Gesetzmäßigkeit des Schmuckes und dessen

Bedeutung als Kunstsymbol» (1856). He also developed his ideas in Der Stil in

den technischen und tektonischen Künsten; Oder, Praktische Aesthetik (1860,

1863), specially the chapters on Textiles (volume 1), but also in the ones devoted

to Carpentry and Masonry (volume 2).

Protection, coverage and enclosure are the actions that relate to the genesis

of architectural space for Semper. Space means the enclosed vacuum by means

24. Vitruvius, Los X libros de arquitectura de Marco Vitrubio Polión, Book I, Chapter VI.

25. Vitruvius, Los diez libros de arquitectura, 54.

http://dict.leo.org/esde/index_de.html#/search=derFu%C3%9F&searchLoc=0&resultOrder=basic&multiwordShowSingle=on


349

of cladding, which can be independent from the building structure itself.26

This

is the basic and general idea of space that Semper developed, but he went a

step forward.

For example, he used „space‟ to describe the central organization of the

Scandinavian wooden church:

«Diese kirchen sind nicht Centralbauten in byzantinischer Weise, vielmehr

entsprechen sie nach der Form des Grundplanes einer kurzen Basilika, aber sie

sind es in dem Sinne freier Gruppirung von Räumen um einen vorherrschenden

aber keinesweg vollständig unterjochenden Hauptraum».27

«These churches were not centrally planned buildings in the Byzantine

manner; they were much more like a shortened basilica as regards floor plan.

They were centrally planned, however, as spaces freely grouped around a

dominant one, but, by no means, subjugating main space, and in the sense of a

painterly principle».28

The term „Raum‟ (space) was even accompanied by other words that

modified or complemented its meaning; for example, „Raumvertheilung‟

(spatial distribution). Thus, „space‟ was not just the relevant result of cladding,

but a concept to describe the characteristics of different kinds of buildings.

Here is a quote in which Semper made the distinction between space as a result

of its functionality or space as a result of other architectural features: space as a

result itself vs. space as a „residue‟ of other architectural priorities.

«Zu dieser erhabenen Plattform mit ihrer Ziegeltäfelung und dem mehr

ornamentalen, denn Schutz gewährenden Zinnenkranze führten prachtvolle

Freitreppen und Rampen hinauf, den Palästen und Tempeln entgegen, deren

alleinig erhaltene unterste Mauertheile unter bergen von Sehutt und Erde tief

begraben liegen, wodurch schon der sichere Beweis gegeben ist, dass sich ein

vielstöckiger sehr bedeutender Hochbau über ihnen erhoben hatte, was

übrigens auch schon aus der enormen Diche der Mauern und den geringen

Zwischenräumen, die sie trennen, unzweifelhaft hervorgeht; Man sieht deutlich

diese Gänge, die bei einer Länge von dreissig bis vierzig Meter zuweilen nur

sechs bis sieben Meter Breite haben, sind nicht durch die Zweckmässigkeit der

Raumvertheilung bedungen, sondern gleich jenen Favissae der Substruktion,

auf denen sie stehen, aus einer konstruktiven Idee hervorgegangen».29

«The raised platform, with its tile facings and battlements that were more

ornamental than protective, had magnificent open staircases and ramps leading

up to its palaces and temples. All that has survived of the latter are the lower

parts of the walls buried under mountains of rubble and earth. That alone

proves that a major multi-storey building must have risen above them, as also

derives from the enormously thick walls and the narrow spaces between them.

These passages can be seen quite clearly; they are thirty to forty metres long,

26. Only the surface layer of the Space enclosure had a relatinship with the „Raumesidee‟

(spatial idea) for Semper. Semper, Der Stil in den technischen und tektonischen Kunsten; oder,

Praktische Aesthetik. Ein Handbuch fur Techniker, Kunstler und Kunstfreunde, 318.

27. Ibid, 282.

28. Semper, Style in the technical and tectonics arts, or Practical aesthetics, § 151.

29. Semper, Der Stil in den technischen und tektonischen Kunsten; oder, Praktische Aesthetik.

Ein Handbuch fur Techniker, Kunstler und Kunstfreunde, 322.


350

but sometimes only six to seven metres wide. They are not dictated by the need

to divide space; like favissae in the substructure on which they stand, they

developed from a structural idea».30

Space depends on cladding, and both aspects have an intense relationship,

normally of accordance, and, sometimes, of contrast. One of the most interesting

examples of the latter is the contrast between the longitudinal space of the Galerie

d’Apollon (Louvre) and the central (90º rotated) decoration of the ceiling by

Delacroix.

«Ich kene keinen Raum, der in Beziehung auf allgemeine architektinische

Harmonie mit dieser herrrlichen Gallerie zu vergleichen wäre. Das Hauptbild

der Mitte ist, bei Gelegenheit der restauration dieses Saales, die unter der Leitung

der Herren Duban und Séchan erst vor wenigen Jahren vollendet wurde, con dem

Maler Delacroix ausgeführt worden; Dieses ist so orientirt, dass der Beschauer

vor das Fenster treten und diesem den Rücken zuwenden muss, um es richtig

zu sehen – gewiss für diesen Fall die schicklichste Disposition: obgleich die

Form der Gallerie dazu einladen mochte, das Bild so zu wenden, dass der, den

reich verzierten Korridor durchreitende, Besucher der Kunstsammlungen des

Louvre dasselbe auf seinem Wege en passant richtig sehen und geniessen könne.

Durch die Orientierung, die Delacroix dem Deckenbilde gab, wird das Mittelfeld

der Mauerseite der Gallerie zu einem Centralpunkte des Raumes, der, wie

schon bemerkt worden ist, eigentlich keinen Selbstzweck verräth, sondern sich

als Passage oder als Korridor manifestirt. Der nur erst angedeutete Gedanke

würde erst dann sich vollständig aussprechen, wenn, dem herrlichen

Delacroix‟scheu Bilde enrsprechend, irgend ein kräftig heraustretendes

Monument die Monotonie der langen Wandfläche gerade in der Mite derselben

unterbräche».31

«I know of no space comparable to this wonderful gallery in terms of its

general architectural harmony. The main painting in the centre was completed

by [Eugène] Delacroix just a few years ago, when the gallery was restored

under the direction of [Félix-Louis-Jacques] Duban and [Polycarpe-Charles]

Séchan. Its orientation makes the observer step in front of the window and turn

his back to it to see the painting properly –certainly the most suitable

disposition in this case. The shape of the gallery might suggest turning the

picture so that the visitor to the Louvre‟s art collection walking through the

lavishly decorated corridor could see and enjoy it en passant. The orientation

chosen by Delacroix for the ceiling painting makes the middle field of the

gallery wall side a central point in the space that, as has already been noted, has

no actual purpose except to be a corridor o passage. The idea merely hinted at

so far could be fully expressed only if some powerfully protruding statue, equal

to Delacroix‟s magnificent painting, were to break the monotony of the wall

surface precisely in the painting‟s centre».32


31. Semper, Der Stil in den technischen und tektonischen Kunsten ; oder, Praktische

Aesthetik. Ein Handbuch fur Techniker, Kunstler und Kunstfreunde, 68.



351

Summing up, Semper overcomes the limits of „space‟ as a simply «enclosed

space». The implications of „space‟ to describe architecture went much further

than just its definition. The definition was only the beginning to speak about

several qualities of architecture in spatial terms. That is why Semper related

„space‟ to composition (organization of spaces in a building), the design of

cladding (cladding was not only the construction of the limit, since it qualifies

space), etc.

Conclusions

The concepts of space in architecture, as they are used nowadays, have

their origin in the „German tradition‟ of the second half of the nineteenth

century. It is remarkable that a few authors such as Karl Schnaase (1834) did

use «innere Raum» (inner Space) and other similar expressions to point out

some relevant facets concerning Greek and Roman Architecture. However, it is

from Gottfried Semper to Paul Frankl, when an important number of works

developed the concept of space as a key one to analyse Architecture and its

immanent History, such as the ones written by: Richard Lucae (1869, 1870),

Hans Auer (1883), August Schmarsow (1893), Adolf Hildebrand (1893),

Gustav Ebe (1900, 1901), Alois Riegl (1901) or Paul Frankl (1914). It was in

that period when „space‟ became an unavoidable reference to analyse, describe

and criticize buildings from a specific architectural approach.

The aim of this paper is to clarify a piece of the „prehistory‟ of space

concepts in architecture by analysing four translation of Vitruvius into Spanish

(1564, 1582, 1761, 1787). As explained above, four meanings of „space‟ were

founded: 1. Distance between two constructive parts. 2. Area, surface or place

required to do something. 3. Volume surrounding an object or the small gap

between the building‟s constructive parts. 4. The enclosed vacuum to dwell.

It can be seen that the word space as distance (S1) and area (S2) has been

replacing technical concepts such as the diameter of a column («imoscapo») or

intercolumniation.

It is also important to remember that „space‟ (S4), the most relevant meaning

of „space‟ due to its connections with Semper, was used in the translation of

Ortiz y Sanz (1787) and Miguel de Urrea (1582), but not in the translation of

Lázaro de Velasco (1564), who preferred the word «hueco» (spatial gap), which

refers quite to the same idea in Spanish. It is also remarkable that the original

version of Vitruvius talks about «spatium habitationis». Thus, the concept of

architectural space as an enclosed vacuum to live in appeared even in the

origins of Architectural Theory. Presumably, it was only an unconscious idea;

but, apparently, its use bothered neither Vitruvius nor most of his translators

into Spanish. In any case, it is clear that „space‟ (S4) was then not a key

concept to describe architecture.

The concept of space as „enclosed space‟ turns into an intentional idea

only after 1850 and the work of Gottfried Semper. In addition, it was in service

of a qualitative description of buildings, as Semper related „space‟ to other


352

aspects of architecture, such as the structure of the building itself or the cladding

design.

Taking into account subsequent German contributions on the matter, which is

to say the development of space concepts to accurately analyse the History of

Architecture, it may be said that Semper‟s contribution was not quite the

definition of „space‟ as an enclosed vacuum itself, but to situate the word and

the concept at an important place in his systematic Theory. Something that

gave way to analyse and evaluate architecture from spatial terms. How specifically

this evolution of „space‟, from an accepted irrelevance to a nuclear position in

Architectural Theory and History, took place remains almost unstudied.

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The Concepts of Space in the Spanish Translations of ... · Gottfried Semper‟s theory1 and the subsequent so called „German tradition‟. However, the concept of space in architecture